With its labyrinthine structure, discursive storyline, and exploration of themes such as duality, reality, identity, and the nature of time, the movie is reminiscent of the great Argentinian writer Jorge Luis Borges
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Oldroyd pulls out all the stops and the three actresses complement one another so perfectly that we end up savoring 2023’s best scene.
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Fennell’s writing and directing are brilliantly inventive, with humor, tragedy, and horror mixing perfectly. She gets immense support from her cinematographer, Linus Sandgren, whose work here is truly breathtaking.
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And Henry gives a tour de force performance that matches his spine-tingling monologue in “If Beale Street Could Talk”. Like Lawrence he is one of the all-time greats.
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Plaza’s performance is something to behold. All of that nervous energy is now bursting out in a performance that is always true and believable.
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Albert Lewin directed his masterpiece, a superb adaptation of Oscar Wild’s “The Picture of Dorian Gray” with the beautiful Hurd Hatfield.
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Stanwyck gives one of her most controlled, lethal performances, and Douglas’s debut is astonishing – he plays Walter as a man who has been dying for years, a man whose entire identity is built around Martha.
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Working with master cinematographer Lee Garmes, director Edmund Goulding produced one of the GREAT film noirs, a genre he had never worked in before and would never work in again.
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“Adam’s Rib” boasts marvelous acting by Tracy & Hepburn, Judy Holliday, Jean Hagen, Hope Emerson, Tom Ewell and, as Amanda’s “gay best friend”, David Wayne.
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Yes, that is Mercedes McCambridge as an unnamed lesbian gang leader getting her kicks while watching Janet Leigh getting roughed up in “A Touch of Evil.”
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Lawrence’s intense relationships with men, particularly Sherif Ali (Omar Sheriff), are emotionally charged. The characters’ gazes linger on each other in numerous scenes, creating a sense of tension and intimacy.
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A savage indictment of the waning British class system, it’s one of the most chilling films ever made. Winner of Best Screenplay of 1964 from the NYFCC.
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An actor of unusual sensitivity, James Fox is an easy actor to queer-code, and he is mentioned twice in this essay and once in the next. No matter, his scenes with Segal have a beauty about them, a longing that every gay man can recognize.
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A true breakthrough and a film that has improved with age. Documentary filmmaker Shirley Clarke interviews gay African American hustler and aspiring cabaret performer Jason Holliday in his apartment at the Hotel Chelsea.
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John Schlesinger’s American debut is only X-rated movie to win Best Picture. It boasts two great performances courtesy of Jon Voight and Dustin Hoffmann.
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..but it is Hershey who is really stunning as the manipulative Sandy. Then, into their lives wanders Rhoda (Oscar nominee Cathy Burns)…
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Using humor and irony to critique prejudice, injustice and the destruction of Native American communities, “Little Big Man” is, together with “Bonnie and Clyde”, Arthur Penn’s best film. It helped redefine the Western genre, paving the way for more nuanced depictions of Native Americans.
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“The Boys in the Band” was a cultural milestone. As the AIDS epidemic approached, the lives of the actors involved was a collective tragedy.
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In “Sunday Bloody Sunday”, Murray Head plays a free-spirited bisexual who is having simultaneous relationships with Glenda Jackson and Peter Finch. Finch’s closing monologue, delivered directly to the camera—“I am happy, apart from missing him”—is one of the great grace notes in queer film history: tender, dignified, and devastating in its simplicity. It is also one of the finest pieces of acting ever captured on film.
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Another example of a gay character whose sole purpose in the movie is to be killed. Still, Zinnemmann and Rodgers treat his character with a modicum of respect.
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The second scene is where the boys are horsing around and, wouldn’t you know it, they almost start pounding one another. Very sexy.
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In “Barry Lyndon” there is a moment where Ryan O’Neal finds two soldiers naked and holding hands in a pond as they confess their love for one another.
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His life becomes a kind of performance art and Hurt is phenomenal. One of the great queer performances as one of the great Queers.
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Ettore Scola’s beautiful two-hander stars one of the Silver Screen’s great romantic couples – THE KING AND QUEEN OF ITALIAN CINEMA. Their megawatt star presence and memories of their previous work together in Yesterday, Today and Tomorrow and Marriage Italian Style permeate their characters.
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Watching American Gigolo, you knew that Courtesy of Giorgio and Nando, two gay Italian men, glamor and fashion had returned to the world, not just Hollywood but the entire world.
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Beautifully realized by director Lamont Johnson, the film preserves Cather’s delicate psychological shading and queer-coded subtext. Eric Roberts’ performance is luminous—romantic, brittle, and heartbreaking. A star is born.
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Groundbreaking semi-autobiographical German film that candidly explores the dual life of a gay man in West Berlin at the dawn of the 1980s.
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Photographer/filmmaker Anton Corbijn has directed a hugely enjoyable documentary about Hipgnosis, the duo who revolutionized the album cover as an art form.
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Created by Lee Sung Jin, the series boasts a wonderful script and spectacular turns by Steven Yeun and Ali Wong as the central characters.
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Evan Peters, Josh Braaten (young Jeffrey), Niecy Nash as nest-door-neighbor Glenda and a magnificent Richard Jenkins as Dahmer’s Father, all give stellar performances.
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